American Cinematographer - August 2013 - 26

and the practicals she managed to find
became almost characters in the film,” he
says. “The big dish light that sits over the
main desk is an old movie light. We put a
much lower-wattage bulb in it and wired it
to a dimmer. I decided the audio team
would have the house lights dimmed down
when they were watching the movie and
up at other times. That kept [the look] a bit
richer and more textured. We also ran a
cracked oil machine so we could ‘see’ the
light.”
The influence of Storaro and The
Third Man can be felt in how the filmmakers create a sense of dread around the
hapless Gilderoy. “It’s about nasty things
lurking in the dark,” says Knowland. “I’ve
always had a thing about creating darkness
and having half of someone’s face in
shadow, which is where I often try to keep
my camera.”
Working with Kernke and costume
designer Julian Day, Knowland maintained
an autumnal color palette. “I don’t think it
would have worked had it been harsher
and bluer and colder. For me, there’s something about Italy that is romantic, and I
wanted that. Italians are lovely, romantic
people. The country is warm. I work quite
instinctively, and that’s how I wanted it to
feel.”
Knowland and Strickland contemplated shooting on Super 16mm to stay
true to the era, but that was ultimately
beyond the production’s budget. So,
Knowland tested an Arri Alexa, a Sony
PMW-F3 and a Red One MX, comparing
the results against 16mm footage shot with
an Aaton XTR-Prod (using Fujifilm and
Kodak 500-ASA stocks). The filmmakers
chose the Alexa, which “had a quality and
flexibility I associate with film,” says Knowland. “The Red always seemed a bit too
techie, whereas the Alexa had a wonderful
simplicity about it.” They decided to record
in ProRes 4:4:4 to Sony 64GB SxS cards.
Most of the approximately 30-day
shoot took place in March 2011 at 3 Mills.
For his first Alexa production, Knowland
took Leiterman’s old advice and “just got
on with it” after one day’s testing with no
post. “I felt I could treat it like film in the
sense that as long as I made it look pretty
good on the day, there would be enough
flexibility to make it look really nice in the

Top: Foley
artists massacre
fruit and
vegetables
while creating
grisly sounds
for murder
scenes. Middle
and bottom:
Gilderoy
contends with
an
uncooperative
receptionist
(Tonia
Sotiropoulou)
while vainly
attempting to
obtain travel
reimbursement.

26

August 2013

American Cinematographer



American Cinematographer - August 2013

Table of Contents for the Digital Edition of American Cinematographer - August 2013

American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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